| Papers [1-15] of 27 :: [Page 1 of 2] | | Go to page : 1 2 —> | Search results on "MARCEL DUCHAMP RROSE SELAVY": |
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Marcel Duchamp's "Rrose Selavy", 2002.
Describes the artist's performance of Rrose Selavy.
2,250 words (approx. 9.0 pages), 9 sources, $ 79.95
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Abstract
Describes the artist's performance of Rrose Selavy. The Rrose persona. Its network of meanings. Relationship of Rrose to DuChamp's readymades. Commodity aspect of readymades. Postmodernism. Visual portrayal of women. Boundaries of sexual differences. History and ideas of assisted and semi-readymades. Notion of artistic function. Cites specific examples.
From the Paper
"Marcel Duchamp's project is as complex, ambiguous, and rich as anything undertaken by any artist of the twentieth century. One of the most elaborate networks of meaning started by Duchamp derives from his 'performance' of Rrose Selavy, the female personification first used as a signature, mocked up in a series of posed drag photographs by Man Ray, and then persisting as an alter ego for Duchamp in many subsequent projects. The spectacle of a male artist who adopts a female persona and employs 'her' in the titles of various works, as the 'author' of other pieces, and simply as a sort of working fiction in his life raises questions of many kinds. Certainly the eroticization of the communication between artist and spectator, the performative nature of gender, the nature of the patriarchal art system and art history, and the meaning of authorship of works of art are all implicated in ..."
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Marcel Duchamp, 1990.
This paper discusses the influence of Marcel Duchamp on the Dadaist movement in art andrReady-made art forms.
900 words (approx. 3.6 pages), 5 sources, $ 31.95
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From the Paper
"This paper will discuss the influence that Marcel Duchamp had on the Dadaist movement in art. Dada originated in Paris and Zurich during the First World War. The despair of that war caused many Europeans to perceive a breakdown in the society of their time. This in turn led to the creation of Dada, a style of art which was paradoxically opposed to art. By seeking the destruction of art as they knew it, the European Dadaists made a statement about their world, which was apparently crumbling down around them. At approximately the same time in history, the concept of Dada was also being introduced in the United States by way of New York City. Although they were not directly involved in the war, the New York Dadaists still rejected the traditional values of the art world. This rejection was accompanied by a sense of humor, and their art often utilized elements of nonsense ... "
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Marcel Duchamp's "Fountain", 2002.
Discusses the artwork and its impact.
2,475 words (approx. 9.9 pages), 10 sources, $ 87.95
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Abstract
Discusses the artwork and its impact. The historical and cultural context of the time it was exhibited. How it was received by critics and the public. How the piece affected and transformed art. The aesthetic significance of the sculpture. Aesthetic example of modern art. Overview of Duchamp's life and avant-garde art.
From the Paper
"This research examines Marcel Duchamp's artwork Fountain. The research will set forth the historical and cultural context in which the work first presented and then discuss how it was received, its impact on the history of art, and how it affected and transformed art, including the relevance of art criticism of the work to its aesthetic significance.
No discussion of Duchamp's art would be complete without reference to the sundry trends and styles of modernism and postmodernism. And no account of Duchamp's Fountain can be considered complete that does not include reference to the manner in which his output as a whole both proceeds and departs from various trends. Indeed, the cultural context for the creation of Fountain as a work of modern art is as important to an understanding of it as is the fact of context as an aesthetic ..."
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Marcel Duchamp, 2000.
The life and career of the Dadaist artist, focusing on the critique of his masterpieces, "The Bride Stripped Bare by Her Bachelors, Even," and "Large Glass."
5,400 words (approx. 21.6 pages), 14 sources, $ 135.95
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From the Paper
"Marcel Duchamp (1887-1968) was one of four siblings who became artists in the period of intellectual and artistic ferment that saw out the last decades of the old century and extended beyond World War I. Duchamp's early interest was in painting and Cubism and much of his most influential work was related to Dada practice. But Duchamp was ultimately the most independent of artists--eventually becoming independent of art itself. Much of his influence derived from gestures or positions related to the nature of art, and a great deal of his fame rests on works consisting of ordinary objects altered or 'readymade.' But Duchamp's masterpiece is usually held to be the glass, metal, and paint construction entitled The Bride Stripped Bare by Her Bachelors, Even (1915-23), frequently known simply as Large Glass."
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Dada Art, 2006.
This paper describes the Dada movement and the artists Marcel Duchamp and Francis (Francois) Picabia.
2,675 words (approx. 10.7 pages), 5 sources, MLA, $ 80.95
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Abstract
This paper explains that the Dada movement, whether a painting, book or treatise, was intended to make the viewer think, to reconsider every one of his or her opinions, to break through the old boundaries and begin to look at the world in a new way. The author points out that Marcel Duchamp's "Fountain", an ordinary urinal, was his manifesto about the society for which the "artwork" had been made because, in this still nearly-Victorian age, Duchamp committed the unpardonable sin of making public that which should never even be mentioned. The paper relates that Francis Picabia's "painting" "Sainte Vierge" or "Holy Virgin", which is no easier to identify with than Duchamp's "Fountain", is an inkblot; the importance of which is the viewer's initial reaction to this Dada art. The paper includes several long quotations.
From the Paper
"Whether in New York or Europe, Dada was a "movement" of the avant-garde. In order to understand the Dada, one must look into the conditions that gave it form and substance. The First World War was only an immediate cause - it was the spark that caused people like Duchamp and Picabia to search for a radically new form of expression. But Dada was more than paintings. Drama and literature could as much be expressions of Dada as any of Duchamp's or Picabia's works. By the time, Duchamp and Picabia had begun, independently, to create the style that would become Dada; the avant-garde had already established itself as a synthesis of the radical and the rebellious."
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"Nude Descending A Staircase", 2002.
Discusses the controversy surrounding Marcel DuChamp's 1912 painting.
1,800 words (approx. 7.2 pages), 6 sources, $ 63.95
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Abstract
Discusses the controversy surrounding Marcel DuChamp's 1912 painting. Reaction to the artistically provocative painting and title at New York's 1913 Armory Show. Origins of DuChamp's painting. His ideas and experiments with abstraction and time-lapse photography. Rejection of "Nude" by the Cubists. His impact on American artists, critics and the public.
From the Paper
"Marcel Duchamp's Nude Descending a Staircase (1912) became one of the best known painted images of the twentieth century when it developed into a major focal point for the hilarity and outrage that surrounded the 1913 International Exhibition of Modern Art. On view in New York, in February and March, the exhibition--which is better known as the Armory Show, after its location--was presented by the Association of American Painters and Sculptors (AAPS) and assembled chiefly by two of its members, Arthur B. Davies and Walt Kuhn, who went to Europe to select the works. When the show opened it proved to be one of the wonders of the age, and a defining moment in the history of American art. The American public, and even the members of the AAPS, had never seen anything like these works, which ranged from Van Gogh and Gauguin to Picasso and Brancusi. Duchamp's painting, with its ..."
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The Spatial Duality of Form, 2006.
An examination of the opposing views of sculpture expressed by Kurt Schwitters and Marcel Duchamp.
2,013 words (approx. 8.1 pages), 13 sources, APA, $ 63.95
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Abstract
This paper explains that Marcel Duchamp saw sculpture as a self-contained object that packages its own space and ideas, whereas Kurt Schwitters, in direct contrast to Duchamp's view, saw sculpture as the relationships of the parts to the whole actively which serve to create the space and idea. The paper then proposes that, in fact, sculpture has the ability to express Duchamp's and Schwitter's opposing ideas simultaneously, and to become a multidimensional spatial experience.
From the Paper
"At the same time, Marcel Duchamp was introducing the ready-made object. His inverted urinal, among other objects, significantly impacted our thinking of sculpture as well. At the other end of the spectrum from Schwitters, Duchamp glorified, to the point of fetishizing , the objectness of sculpture. By opposite means, he too questioned the meaning of spatial experience."
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Modernism and Postmodernism, 2000.
A definition and comparison of two artistic philosophies in theory and in practice. Examples include Marcel Duchamp and Glenn Ligon.
1,350 words (approx. 5.4 pages), 8 sources, $ 47.95
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From the Paper
"Both modernism and postmodernism are reactions to change, with modernism reacting to the rapidity of technological and social change at the end of the nineteenth century, while postmodernism is a reaction to the social uniformity of modernism. Again, each makes a statement in a certain way because it has been made possible to make statements in just that way. Postmodernism is a restatement of the private and personal after the modernist era of the social and public. When Harvey cites the technological changes contributing to the development of postmodernism, he is citing the changes that permitted the artist to shape material for personal tastes and individual needs (Harvey 66). In this sense, and with reference to architecture, the postmodernist shapes public space in a certain way because he or she can so shape it."
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The Nude in Art, 2001.
Examines approach of Marcel Duchamp & Jean Cockteau re: use of nude as a subject. Their deconstruction of the nude as subject of art.
2,025 words (approx. 8.1 pages), 6 sources, $ 71.95
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From the Paper
"The influence of Marcel Duchamp and Jean Cocteau on the use of the nude as a subject in art falls outside the usual categories of influence. Duchamp's singular experience with his Nude Descending a Staircase (1912) was instrumental in his decision to turn from any conventional type of art career and become the twentieth-century archetype of the anti-artist. Even though the popular 'scandal' surrounding the painting was of a type that would have launched a more typical artistic career, and his intentions with regard to the Nude were somewhat conventional, Duchamp's subsequent path was devoted to the exposure of art's ways and means. The nude, however, was one subject whose dimensions fascinated him and at the end of his career he created the disturbing multimedia work Given: 1. The Waterfall 2. The Illuminating Gas (1946-66) which, in some..."
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Marcel Breuer, 2007.
This paper presents an overview of the life and accomplishments of architect Marcel Breuer.
1,261 words (approx. 5.0 pages), 4 sources, MLA, $ 42.95
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Abstract
The paper discusses modernist architect Marcel Breuer's background and his style of work. The paper relates that Breuer is well known for his emphasis on the technical and structural aspects of his buildings. The paper adds that his architecture is recognized for its attention to light and shading, particularly in the use of tinted or shaded windows and overhanging elements. The paper notes his many accomplishments.
From the Paper
"Born in Pecs Hungary in 1902, Marcel Breuer attended university at the newly formed Weimar Bauhaus, attracted to the promises of new architectural and artistic approaches (Marcel Breuer: architect biography, par. 1). He attended the Bauhaus in the early twenties and taught there after finishing his studies. Though the Bauhaus did not yet offer architecture when he began there, Breuer, aided by Georg Muche, began to study housing anyway. He had a particular interest in high-rise structures and soon after developed a seven-story apartment block that would be mass-produced in the years to come (Marcel Breuer: architect biography, par. 1)."
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Marcel Proust's "Swann's Way", 1981.
This paper discusses "Swann's Way", the first of 7 volumes comprising the book "Rememberance of Things Pasts, which begins Marcel Proust's story of how a little boy becomes a writer.
1,575 words (approx. 6.3 pages), 1 source, $ 55.95
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From the Paper
"The sequence from "Swann's Way" by Proust associates the name of a person and the name of a place with Marcel in a direct way. The person's name is Gilberte, and the place is the Champs-Elys?es and areas around Paris. Gilberte is Swann's daughter. Her name floats by as Marcel, and hearing that name will lead Marcel into a love relationship. He is in the Champs-Elys?es when he overhears a little girl calling out, "Good-bye, Gilberte, I'm going home now; don't forget we're coming to you this evening, after dinner" .The name itself has a power, and hearing it now creates links for Marcel with an earlier time in Combray when he heard the name, and he then knew that the little red-headed girl was Swann's daughter. In the Champs-Elys?es, Marcel is affected by hearing the name, by the mystery surrounding this girl, and by the idea of the girl herself, the idea ... "
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Modernist Artists, 2003.
Analyzes two French artists.
1,575 words (approx. 6.3 pages), 11 sources, $ 55.95
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Abstract
Discusses the aesthetic strategies used by both. Examines Seurat's "A Sunday Afternoon on the Island of La Grande Jette" and Marcel Duchamp's "Nude Descending a Staircase," describing Seurat's pointillism style and Duchamps's work in experimental forms.
From the Paper
"Seurat's "A Sunday Afternoon On the Island of La Grande Jette" and "Nude Descending a Staircase" by Marcel Duchamp. Among the many art historians and theorists who have made an attempt to determine the means and methods by which the artistic term ..."
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The Futurist Movement, 2002.
A paper which examines the art of the Futurist Movement which originated at the end of the nineteenth century.
1,860 words (approx. 7.4 pages), 6 sources, MLA, $ 59.95
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Abstract
The paper discusses the origins of the Futurist Movement whose art-work reflected the energy and the changes of the late nineteenth/early twentieth century. It shows how Norwegian Impressionist artist, Edvard Munch's "The Scream" - which relayed a message of total dread and horror that comes from trying to realize the preciousness of life in a world of carnage - laid the groundwork for the movement's message. The paper examines the work of others who identified with this movement, such as writer Filippo Marinetti and artist Marcel Duchamp. The paper also touches on the Dadaism movement which orginated from refugees from WWI Germany and explores the works of several Dadaists, such as artist Jean Arp and historian Hans Richter.
From the Paper
"While Dadaism had movements all over the world, it was birthed from refugees of World War I in Zurich. The dehumanizing impact of the industrial age moved into the realm of the absurd during the Great War. No one in Germany escaped the horror of that bloody war unscathed. It was like a self-inflicted plague, not altogether unlike tuberculosis or any other disease, only making less sense. During that war was the first time that the modern implements of fighting came into use on the battlefield, and the soldier in the trenches achieved a new level of insignificance. They became canon fodder, with death often time coming from hidden mines, distant snipers, from big guns and airplanes that could only be heard and not seen. The carnage of the war and the desperation that followed clearly marked the souls of these artists. Painting landscapes made no sense in that context."
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Bauhaus and Furniture Design, 2006.
An examination of the influence of Marcel Breuer upon modern furniture design.
2,048 words (approx. 8.2 pages), 10 sources, MLA, $ 64.95
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Abstract
This paper examines the furniture designs of one of the Bauhaus' most famous designers, Marcel Breuer (in the context of the Bauhaus and the modern movement). The paper argues that Breuer's furniture designs reflect the overall Bauhaus interest in the application of industrial mass production to the creation of domestic spaces defined by quality design. The writer explains that although the Bauhaus was to only exist for a few short years before its closing by Germany's Nazi government in 1933, its ethos can be seen to be reflected in much of Breuer's innovations in furniture design. The writer also notes that Marcel Breuer's furniture design would prove so enduring and popular that it came to be characteristic of the modern movement. The writer concludes that in situating Breuer within the context of the Bauhaus, we can see how his modernist vision evolved from an emphasis upon aesthetic principles to a focus upon the primacy of industrial design that may be inexpensively reproduced through mass production techniques. An annotated bibliography is appended.
Outline:
Introduction
The Bauhaus Vision
Marcel Breuer and Modern Furniture Design
Conclusion
From the Paper
"The Bauhaus School that came into being in Germany in the wake of the First World War represented arguably the single most influential school in the history of modern design. Headed by figures such as Walter Gropius and Mies van der Rohe, and defined by a socially egalitarian ethos that envisioned industrial production as the key to presenting quality designed products for the general public, the Bauhaus was to play a critical role in the shaping of how the twentieth century perceived modern design."
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"Black Orpheus", 2005.
This paper examines the 1959 film "Black Orpheus" by Marcel Camus.
900 words (approx. 3.6 pages), 3 sources, $ 35.95
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Abstract
The paper discusses how the 1959 film "Black Orpheus" by Marcel Camus presents a retelling of the myth of Orpheus and Eurydice within the modern context of the Carnival in Rio de Janeiro. The paper explains that while this updating of a classical Greek myth may seem puzzling or absurd to some, "Black Orpheus" captures the spirit of humanity in the context of fatalism that was characteristic of much of Greek tragedy. In order to illustrate this argument, the paper compares "Black Orpheus" to Sophocles classic tragedy "Oedipus Rex."
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